Mask

Item number Eh114 from the MOA: University of British Columbia.

Public

Item Records

This page shows all the information we have about this item. Both the institution that physically holds this item, and RRN members have contributed the knowledge on this page. You’re looking at the item record provided by the holding institution. If you scroll further down the page, you’ll see the information from RRN members, and can share your own knowledge too.

The RRN processes the information it receives from each institution to make it more readable and easier to search. If you’re doing in-depth research on this item, be sure to take a look at the Data Source tab to see the information exactly as it was provided by the institution.

These records are easy to share because each has a unique web address. You can copy and paste the location from your browser’s address bar into an email, word document, or chat message to share this item with others.

Data
Data Source

This information was automatically generated from data provided by MOA: University of British Columbia. It has been standardized to aid in finding and grouping information within the RRN. Accuracy and meaning should be verified from the Data Source tab.

Description

Mask depicting a European woman with painted black hair and eyebrows, a pink face and ears with a pointed nose that has large flaring nostrils, a small pointed chin, as well as red lips, cheeks and raised areas of the ears. The hair is raised in low relief and is centre parted as well as pulled back to the sides. The large eyes bulge outwards and there are crescent-shaped holes under each. There is a black beauty spot on the left side of the face.

History Of Use

Sri Lanka has two major masked ritual dances: the Sanni, a healing and exorcising ritual, and the Kolam. Legends say the Kolam began as an amusement for a pregnant queen. The Kolam has four parts. A satirical prelude prepares for arrival of royal party; the king and queen arrive. The main play, a well known folk-tale, is performed. A dance of purification concludes the Kolam. In the prelude, masked male dancers represent village characters. European female mask is reported as being used over a face, with a European man's mask worn at same dancer's waist. In torch light this looks as if the woman is riding the man. Woman's mask is attractive but ridiculous.